For decades, Rock supergroups
have been embraced by music fans and derided by critics. In general, the whole
idea of a supergroup has been misunderstood.Sure, there are those that come together strictly because it makes
financial sense for each of the band members… and their management team.
However, there are still plenty of supergroups that do it for the right reasons
– artistic expression. Just because musicians are in successful bands doesn’t
mean that they are always able to funnel all their ideas and energy onto their
main band’s records. Sometimes, they have to turn to solo or side projects in
order to release creative steam. In the process, they call on their musician
friends and, before they realize it, they are a supergroup. This phenomenon has
been going on for decades – including legendary jams by The Dirty Mac (John Lennon,
Eric Clapton, Keith Richards and Mitch
Mitchell) and commercially successful bands like Asia and The Traveling
Wilburys. You can add KXM –
featuring Dug Pinnick, Ray Luzier,
and George Lynch – to that list…

Before the collapse of print
media, every kid in the UK followed music rags like NME and monthly magazines like Q
and Record Collector. However, British
music critics took great pleasure in building an artist up before pulling the
stool out from under their feet and watching them fall from grace. It seemed to
happen almost monthly – a band’s debut single was voted ‘best song of the year’
and by the time their first album was released, the critics would savage it
before moving on to the next victim. Thankfully, by 2006, their critical power
wasn’t as strong because the internet was giving the audience more choice and
more power. It was then that both critics and music lovers became enamored by Bat For Lashes, a new artist that
appeared – fully formed – seemingly out of nowhere. For once, everyone seemed
to agree that this artist was something unique and special.

Sometimes, an artist’s career
trajectory is carefully planned. From label contracts and recording budgets to
marketing strategies and touring schedules, the build up to a debut album is
often less about music and more about business. However, there are always
exceptions to every rule and singer/songwriter Justin Vernon is one of those exceptions. The origins of his band, Bon Iver, and their 2007 debut album
started almost by accident and the subsequent commercial success of the band
has always been about the music and nothing else. Sure, critical success and
two Grammy Awards are always good for ‘business’ but for Vernon, it has always
been about the music. And to think that it all started in a cabin in Wisconsin…

We are so very lucky that Redd Kross exists. Formed by brothers Jeff and Steve McDonald in 1978, the band has gone through numerous line-up
shuffles – plus a few name changes (from The
Tourists to Red Cross to Redd Kross) – over the decades.
However, the band’s love of classic Pop, Punk and Rock ‘n’ Roll and their
fascination with everything pop culture has made them one of the most beloved
bands by anyone ‘in the know’. Better yet, they appeal to a wide spectrum of
fans – from Punk to Power Pop. Redd Kross fans might be the same ones you’ll
see at a Black Flag show or a Cheap Trick gig. And more than likely,
the band’s fans own records by Annette
Funicello, adore Peter Sellers
movies, and prefer Quisp over Quake cereal. Redd Kross represent the
fun side of life. There might still be heartbreak and sorrow in Redd Kross’
universe but nothing that a Buzzcocks
7” single can’t cure!

Musicians, by and large, carve
their own paths. They take their influences, fuse them together, and create
their own noise. Some of those musicians absorb more influences and make
adjustments to their own sound along the way. While some of them might be
distracted by the bright lights of YouTube viral videos and social media
sycophants, we are still left with those that make music because they want/need/have
to. Success might be their ultimate goal but how do you measure success anyway?
Is a ‘one hit wonder’ like Starbuck more
successful than artists like R. Stevie
Moore or Daniel Johnston, two
enormously creative artists that have built up devoted fanbases without even
the slightest hint of massive commercial success? Some say that the hitmakers
win out, but in all actuality, the winners are the fans who can enjoy the
commercial Top 40 cheese while also enjoying those artists that inspire us to
take chances, to move forward, and to be ourselves…

SPAZ:FROM HOME is just about to be released. How are you feeling
about the album and the reaction you’ve had to it so far?

JON RUBIN: I love the record and the way it was recorded and I
think it sounds exciting. I am completely blown away by both fan reaction and
the reaction from people less familiar with The Rubinoos.

TOMMY DUNBAR: It might be a little early to gauge the response, but
I’ll say it was super fun making the record! Writing with Chuck Prophet was a total pleasure, and the rehearsals were a joy
as always. But what really set it apart for me, was that we got to set up and
play in a really great studio, with minimal overdubs. Also, Chuck introduced us
to our wonderful engineer, Mr. Paul
Kolderie. It’s a rare thing to be able to only worry about playing and
singing, at least these days.

Smooth Hound Smith has come a long way since they formed in
Southern California. Yes, you read that right –
Smooth Hound Smith is a they, not a he or a she. Comprised of
multi-instrumentalist Zack Smith and
his wife, vocalist/percussionist Caitlin
Doyle-Smith, the duo formed in Southern California back in 2012. Caitlin
was performing with her band Dustbowl
Revival and Zack sat in on one of their sets. Without even realizing it,
the seeds of their future were planted at that very moment. Caitlin would
eventually add percussion and vocals to Zack’s ‘one man band’
performances. Marriage would soon
follow. Eventually, Zack’s ‘one man band’ concept was cast aside, replaced with
the introduction of Smooth Hound Smith as a duo. Along the way, Zack and
Caitlin left the comforts of Southern California, eventually settling in East
Nashville, Tennessee.

Some things are inevitable – someone
from the ‘older generation’ (age 50+) will hear a classic ‘60s Pop tune on the
radio and utter, “They don’t make music like this anymore!” His friends will nod
in agreement or offer a fist bump and, once the song is over, they go off to
take a nap. I’m sure that scenario is being played out somewhere in this world at
this very moment…

The history of Synth/Electro Pop
band Berlin spans four decades and includes a healthy handful of hit singles, a
few musical detours, a break-up, some reunions, and a legacy that refused to
die. The roots of the band were planted in 1978 when John Crawford formed his first band, The Toys. Within a year, the
band had changed their name to Berlin and the core line-up featured vocalist Terri Nunn, keyboardist/guitarist David Diamond, and bassist Crawford.
Nunn left after the release of their debut album and the band soldiered on with
a new vocalist before briefly calling it a day. With band members pursuing
other projects, Crawford decided to revive Berlin for an EP side-project. He
reached out to Nunn, who agreed to rejoin. When PLEASURE VICTIM was
released in 1982, its success surprised everyone. Armed with three classic
radio hits – “Sex (I’m A…)”, “The Metro”, and “Masquerade” – PLEASURE
VICTIM was a smash and paved the way for even more success.